hi out there

Am interested in knowing if anyone has had problems in painting frescoes in different climates. If so,...did you need a different thickness to the layers of plasters? what about humidity or lack there of? and so on.

For instance, I live in a climate that sees dramatic changes from a frigid sub-zero temperatures in the winter making interiors dry, but hot and heavy humidity in the summers. Although many buildings are climate controlled, that is usually only by temperature and not humidity control. How does this affect frescoes in general? Any info would be great folks, so let's hear it all !!! )

Ciao
Carter Averbeck
http://www.TrompeArt.com

well,this yr i worked on 46 small frescos from summer through to winter sun rain and shine.. i did notice small changes in drying,but not all that dramatic. in warmer weather i always keep a small spray pump at hand with distiled water, this seems to retard the drying giving me more time. as fare as below 0 temps.. i would not know australia does not seem to get that cold .thicker layers do help ,but only on ur roughcast layers ,the intonico should stay the same ,to aviod hair line cracks.. good luck down under.............

Vitruvius described the plaster used by the ancient Pompeians. "Six coats were applied, wet on wet, the last coat was given a mirror polish with a smooth roller, They all totaled to 3" thick, skim milk was added to the pigments for additional gloss.

This plaster stayed wet for weeks and they (pomp.) did not use giornatas, but painted the whole thing like a mural. I think this technique later became known as "mezzo" fresco.

Hi there - this is Suzie, your real live trainee plasterer, here to give you some help if I can re doing frescoes in different climates. Italy seems to be the best place. In London, England, frescoes have been painted int the main museums but the drying time between coats was a year to 8 months because of our rotten climate.

As for cracks apearing, as far as I know, the artists planned their giornatas (day pieces) in such a way as to minimise cracks showing. If you look closely at the old works you will see that they suffer from cracks. Lime putty/plaster is brilliant for healing its own cracks.

Controlling humidity while actually plastering & painting the fresco is very important - if you would like to discuss some tips on how this can be done post a message back to me.

If you are doing frescoes in a climate with very wide temperature ranges it is my opinion that cracks in the work will be inevitable unless when it's completed it is put behind a glass or perspex panel within which the humidity can be controlled. Perhaps you could ask a museum curator's opinion as to how this can be achieved.

If I can help further I will.

Regards

Suzie